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ZACH BORICHEVSKY
TENOR
BIOGRAPHY
Tenor Zach Borichevsky is “equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation.” Mr. Borichevsky is known as a “star-level tenor” with “precise, nuanced high-register singing and agile acting,” paired with a “magical sense of complete spontaneity that comes from being in total command of the instrument.”
This season, Mr. Borichevsky sings the Duke in Rigoletto in a return to Cincinnati Opera, Pinkerton in Madama Butterfly in a house début at Fort Worth Opera, and will return to the Metropolitan Opera to cover Alfredo in La traviata. Last season, Mr. Borichevsky sang the Duke in Rigoletto at the Metropolitan Opera, joined Nashville Opera, Virginia Opera, and Florentine Opera to sing Don José in Carmen; and made two house débuts with Opera Colorado as Rodolfo in La bohème and San Diego Opera as Alfredo in La traviata. He also sang in recital with his wife, soprano Kathryn Lewek at the Danbury Concert Association, Fairfield County Chorale, and in Beethoven’s Symphony No. 9 with Kent Tritle at St. John the Divine.
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A series of significant débuts early established Mr. Borichevsky as one of the most thrilling vocal talents to appear on the international stage; he created widely celebrated international performances in roles such as Rodolfo in La bohème with Finnish National Opera, Romeo in Roméo et Juliette and Pinkerton in Madama Butterfly for Teatro Municipal de Santiago in Chile, and Alfredo in La traviata for the Glyndebourne Festival. He made his Metropolitan Opera début as Edmondo in Manon Lescaut, Santa Fe Opera début as Anatol in Vanessa, and English National Opera début as Rodolfo in La bohème.
Mr. Borichevsky recently made his house début with Opéra Nice Côte d’Azur as Edgardo in Lucia di Lammermoor and returned to the Metropolitan Opera to cover Rodolfo in La bohème and Roméo in Roméo et Juliette. Additionally, he took his Roméo to Toledo Opera, sang Cavaradossi in Tosca with Dayton Opera, and was the tenor soloist for Handel’s Messiah with the New Choral Society.
Other recent performances include the title role of Faust for Detroit Opera, of which OperaWire wrote “Borichevsky revealed himself to be a masterful and technically competent lyric tenor with an innate cut and ring… [he] delighted and captivated the audience with his presence.” In addition, Borichevsky reprised his honed performance of Rodolfo in Nashville Opera’s La bohème, sang Messa di Gloria for Toledo Symphony, performed the Duke in Rigoletto with the Rochester Philharmonic, and returned to Aspen Music Festival for Berlioz’s Requiem. He joined the Lyric Opera of Chicago to cover the title role in Faust in their 2022 production, in addition to performing his first Narraboth in Salome with the Spoleto Festival, USA. In that season he also performed Eisenstein in Die Fledermaus for Palm Beach Opera, reprised the role of Alfredo in La traviata for Opera Grand Rapids, performed Cassio in Washington National Opera’s production of Otello, and Rodolfo in La bohéme with Toledo Opera. In concert, Zach performed the tenor solo in Verdi’s Requiem for the National Philharmonic at the Kennedy Center and recorded a virtual Messiah with New Choral Society. Additional performances include Alfredo in La traviata for Seattle Opera; Edgardo in Lucia di Lammermoor at the Seoul Arts Center; Lensky in Eugene Onegin, Rodolfo in La bohème, and Romeo in Roméo et Juliette all with Arizona Opera; Edgardo in Lucia di Lammermoor with Opera Carolina; Eisenstein in Die Fledermaus for Cincinnati Opera; Tamino in The Magic Flute with Boston Lyric Opera; and Jonathan Dale in the East Coast premiere of Kevin Puts’ Silent Night for Opera Philadelphia.
In concert, Mr. Borichevsky has joined the Minnesota Orchestra for Beethoven’s Symphony No. 9 with Osmo Vänskä, sang Rachmaninov’s The Bells with the St. Louis Symphony and with the Festival de Radio France et Montpellier under Santtu-Matias Rouvali, sang Handel’s Messiah for the New Choral Society, sang the role of Lazarus in John Adams’ The Gospel According to the Other Mary for the National Symphony Orchestra at the Kennedy Center and with the Netherlands Radio Philharmonic Orchestra under Markus Stenz, and gave his first performances of The Dream of Gerontius with the Orquesta Sinfónica del Principado de Asturias under Rossen Milanov. Further highlights have included appearances at the Aspen Music Festival for Britten’s Nocturne and Janáček’s Diary of One Who Disappeared, Britten’s War Requiem with the National Taiwan Symphony Orchestra under Lan Shui, and the Chicago Philharmonic for Verdi’s Messa da requiem under Murry Sidlin.
Mr. Borichevsky has been honored with numerous awards from organizations including the George London Foundation, The Metropolitan Opera Laffont Competition, The Gerda Lissner Foundation, Opera Index, Mario Lanza Foundation, Shreveport Opera, and The Licia Albanese-Puccini Foundation. Mr. Borichevsky won second prize at the Loren L. Zachary National Vocal Competition for Young Opera Singers and third prize at the Operalia Competition.
Current as of June 17, 2025
CRITICAL ACCLAIM
"... masterful…” – OperaWire
Faust– “Borichevsky revealed himself to be a masterful and technically competent lyric tenor with an innate cut and ring despite the role’s required forays into the dramatic territory. From the moment he began to the moment of his inevitable damnation, Faust’s corrupted goodness was invoked in Borichevsky’s consistent spinning tunefulness and equipoised registrar movements. Loosening control during moments of extreme passion and experiential climax, Borichevsky delighted and captivated the audience with his presence.”
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“…ringing tenor full of pathos…” – The Post and Courier
Salome – “Zach Borichevsky, who played the heartsick Narraboth, writhed appropriately and possessed a ringing tenor voice full of pathos”
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"...consistently strong and richly varied..." – Zebra
Verdi's Requiem – "The two men brought great excitement to their roles and performances, especially tenor Zach Borichevsky, whose consistently strong and richly varied, impressive sound could, I'm sure, be heard throughout the house."
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"...one of the most sought-after singers of his generation..." – Seen and Heard International
La bohème – “Zach Borichevsky’s Rodolfo, tall, lean, good-looking was a Rodolfo of one’s dreams, equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation. His pianissimos should teach many a can belto tenor a lesson.”
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"...the star of the premiere..." – Helsingan Sanomat
La bohème – “Borichevsky was the star of the premiere – a grander and more romantic-looking Rodolfo would be hard to find. The tall young man has a clear natural tenor voice, which rises high with unforced buoyancy. His beautiful lyric sound is a sleek metallic splendor. He will soon rise to the top of the international opera world.”
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"...in total command of the instrument...” – What’s On Stage
La traviata – “The revelation, though, was the young American tenor Zach Borichevsky, who made an astonishingly assured company (and indeed UK) debut as Alfredo. Packing a distinctively dark-coloured, fluent lyric tenor, he turned in a performance that was not only technically flawless but also had that magical sense of complete spontaneity that comes from being in total command of the instrument.”
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"...an exciting sound..." – Opera Today
Roméo et Juliette – “Tall and slim with an exciting sound to his tenor voice, Borichevsky was perfect for [Roméo].”